Watch Sicario full movie online free – Probably the best cinematography of this whole year. Roger Deakins is an absolute maestro. Music and sound combo of the movie added to the tension. Johann Johannsson’s score is another exciting driving force upon which the film is carried. It was powerful. Incredible action-thriller. It was extremely dark. Not color wise, but the subject matter. Villeneuve really knows how to take the most vile subjects and turn them into intense n dark cinema. The acting was top notch especially Del Toro. He is comfortable with this sort of material and it really shows. I hav always been a fan of Brolin after no country for old men. His character was so relaxed n mean with those slip ons quiet opposite to del toro’s who u slowly get to know as the movie unfolds. Del toro’s character was emotionless and relentless. It is his best performance to date. The only scene I couldn’t digest was the dinner scene. I turned my eyes n was shocked for few mins.
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Sicario review by Lasttimeisaw – a big bravo to Villeneuve and his crew
The premise of Denis Villeneuve’s latest picture SICARIO sounds like a top-form police procedural, a CIA elite squad vs. a Mexican drug cartel, Emily Blunt plays Kate, acts a surrogate for audience, who is an FBI SWAT agent, wide-eyed but enterprising in her field of work, volunteers to join the special division, lead by Matt Graver (Brolin), to track down the big boss behind the cartel in Mexico. But as the film explains in its first scene, SICARIO means hit-man in Spanish, so who is this hit-man? This is a vital question.
We faithfully empathises Kate’s perplexity as the mission goes on, where she begins to question the unorthodox method of Matt and Alejandro (del Toro), Matt’s partner, and is constantly aggravated by being kept in the dark about their black ops. But the whole process will eventually evolve into a shock treatment for her idealistic faith, what behind the whole plan is beyond her widest imagination and comprehension, after being nearly strangled to death, shot by her own people and hectored to sign her signature to approve something sheer against her principle, until her final scene, a silent capitulation aptly and soundingly strikes the bull’s-eye, a tough lesson about the unapologetic nihilism of our present society, which very likely is also the inconvenient truth. Emily Blunt pluckily takes up the gauntlet to challenge the glass ceiling, materialises as a tower of strength in this men’s business, a tragic heroine, solemnly stomaches a nasty reality check.
Josh Brolin plays in his comfort zone with his craftiness and insolence, whose opportunistic characteristic positions Matt’s seemingly-righteous métier in a grey zone. But the film’s MVP title unequivocally belongs to del Toro’s Alejandro, stuns with his all-out reserved gravitas and a steely resolution for retribution, gradually reveals his true colours as a cut-throat angel-of-death and a proficient marksman in the third act (he is the said hit-man we are looking for), leads towards a series breathless encounters with the wrongdoers of the drug ring and an ultimate face-to-face with Kate, he is the most chilling character on screen after Javier Bardem in NO COUNTRY FOR OLD MEN (2007), if ever the movie will collect any Oscar love in the acting branch, he is the most entitled one.
After his Hollywood one-two punch PRISONERS (2013) and ENEMY (2013), Villeneuve’s directorial finesse again being appraised here, and he is such a first-rate ambiance deviser, together with the assistance of Jóhann Jóhannsson’s stirring score, the thumping drumbeat in the opening is so palpable to set the mood upon that right vibe, yet, Villenueve knows the boundary, he doesn’t overly resort to shock value to keep audience on the edge of the seat, which is brilliantly testified by the opening gambit with exchanges of fire, sudden explosion and ghastly cadavers. In a much wiser strategy, he makes good use of DP Deakins’ majestic camera-work to varnish the film with a sublime tinge of poise and magnificence, like the breathtaking aerial shots, striking environmental palettes or the novel usages of thermal vision and night vision frames, they are where cinema finds its most glorious and enthralling achievement, a big bravo to Villeneuve and his crew, soon he will become a juggernaut in the Hollywood industry, and his next project on the slate is the long-waited sequel of BLADE RUNNER (1982), since it might actually be the rare kind that does not sully its predecessor’s reputation, shall we all drink to that?
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Sicario review by leonvk-97-363892 – “Sicario” comes from the Roman term for zealot…
Sicario is technically speaking a great film; it looks beautiful, the score is suitably daunting and the acting of the highest order. But what makes Sicario a timeless film is the message it subtly delivers.
There are those who criticize both the role of Emily Blunt’s character (Kate Mercer) and the plot as being overly simplistic. And while I see their point of view, I suspect that these critics, much like those who praise the film as being a vindication of the idea that the ‘means justify the ends’, are both missing the actual point of this film.
Sicario should not be seen as movie that argues for brutal measures against brutal forces. Although that is what the actual plot delivers, the plot is merely a vessel to deliver a much more important, and more difficult message to swallow; That the USA’s and global posture of the war on drugs since the late 1980’s has only made the situation worse for all in involved (especially those who live in countries where the production and mass distribution occur).
Brolin’s character (Matt Graver) essentially plays the voice of the devil’s advocate and Del Toro’s character (Alejandro) acts as the devil’s hand. Both of them believe that the only solution is to create some semblance of order. Even going so far as aiming to replicate the ‘Medellin’ period, when Pablo Escobar almost single handedly controlled the global drug trade (for those interested, I highly recommend Netflix’s ‘Narcos’).
Anyone with some idea of that period will know that any semblance of order that existed under the Medellin cartel, was just as brutal and violent, only it primarily cost the lives of Colombians rather than allowing the violence to spill over into the USA itself.
This film should be seen as an argument, a powerful one at that, of just what our global hypocrisy towards drugs is costing us. That the people of Mexico, Central and South America (and a whole host of others who find themselves in the ever expanding network of the drug trade) are soaking up most of the brutality so that the rest of the world can pretend our legislation and our redundant conservative stance against legalizing drugs of any form is working (for those who have watched the film, think of the end scene).
We do not need to “figure out how to get 20% of Americans to stop snorting and smoking s***”. We need to come to terms with the fact that as long as any substance is illegal, there will always be those ready to take the risks and be as ruthless as necessary, to benefit from the absurd margins our legislation creates.
The world has created an artificial and highly profitable supply problem for drugs and it is becoming more difficult with each passing year, to wrest control away from those who profit of it, and I’m not just talking about drug-lords here.
The events in Sicario are still possibly fictional (in terms of the how the drug trade is being combated), but unless we take its actual message to heart, it will, sooner that we would like to believe, become an ever present reality. A reality where violence becomes the default solution, a reality where the ‘lobos’ and ‘Sicarios’ roam free and make dens from Juarez all the way to the national capitals of every nation on Earth.
Sicario review by Ctowyi – Sicario… In Mexico it Means Hit-man
After getting awestruck by Denis Villeneuve’s Incendies (2010), I told myself I will see anything made by him. The spellbinding Prisoners (2013) came next followed closely by the only slight misstep Enemy (2014). Villeneuve is no flash in the pan. He has a terrific knack of grabbing you by the neck and slowly wringing it until you go white hot with nerve- wrecking tension.
I think the armrest of GV@Suntec Cinema 6, Seat G10 might have been broken by me because I had practically gripped and shaken it for 2 hours straight. This is one taut, lean and mean thriller. Every shot by DP Roger Deakins holds so much indescribable menace. Even a shot of a boy rolling a ball across table had my heart in my mouth thinking that a shot would ring out and his brains would splatter all over the dining table. A slow building wide shot of a looming mountain feels like it could explode anytime. Innocuous delicate scenes become fierce, primal and shattering in scope. They are almost Hitchcockian but yet they are their own entity. Nobody does white-knuckled mounting suspense like Villeneuve.
Our heart and mind is aligned with Kate Macer (Emily Blunt) as she leads a tactical team to storm a house near the Mexican border which ends up blowing in the faces of the team, literally. She is our moral compass as she becomes continually torn in how justice is not meted out by the book. Blunt is great in the role and she continues her amazing streak as a steel-edged lady justice figure with aplomb. As much as she is our ‘go-to’ character in the story, it is Alejandro (Benicio del Toro) who is the spanner in the works, the winning wild card. His intriguing role outshines Blunt’s in spades. When he finally becomes the namesake in the film title (in Mexico, ‘sicaro’ means hit-man), your jaw would have dropped to the floor. Villeneuve’s superb foreshadowing is masterclass. At one early point he says to Kate: “Nothing will make sense to your American ears. You will doubt what we do. But, in the end, it will make sense.” As much as these slightly condescending words are meant for Kate, they are also meant for us.
Unlike the rest of Villeneuve’s oeuvres, the action scenes here are more explosive than the drama. There are a few stupendous highlights like the fugitive extraction scene and the tunnel storming sequence, which any action movie cinephile would happily deconstruct with schoolboy glee. Villeneuve is helped by Roger Deakins’ superb cinematography. His deft play with light, shadows and washed out colours is itself a character in the movie. If this doesn’t earn Deakins his thirteenth Oscar nomination, I won’t watch any movie for one year! Coupled with Jóhann Jóhannsson’s pulsating score, Sicario is one of the essential must-sees this year. Perhaps the only quibbles I have is its doggedly opaque story that requires some work from you and its lack of a higher meaning. It is still not quite the perfect marriage between pure adrenaline action and high cathartic drama that I had wished for. Maybe, the Bladerunner sequel will be the one. I await its arrival in reverence.
Sicario review by ClaraBosswald – Liked it, didn’t love it.
Sicario tells the story of an FBI agent (Emily Blunt) asked to cooperate with the CIA to take down a Mexican drug cartel.
This is Benicio Del Toro’s best performance since Traffic which is no small praise. Josh Brolin delivers a good performance as well. I’m usually a fan of Emily Blunt, but I found her profoundly okay in this role. She doesn’t bring anything personal to this character. She was never bad, but you could replace her with any other actress without changing much to the movie.
Denis Villeneuve is known for his dark, bleak tone and Sicario is no exception. The movie has very graphic violence, sometimes to its detriment. You see countless burnt, decapitated, amputated, tortured bodies of Mexican men without any attempt to humanize any victim of those drug cartels; who were they? Why did they die? Who cares? Not Denis Villeneuve apparently. It’s a shame because it makes the movie feel exploitative and dehumanizing which probably wasn’t Villeneuve’s intention.
The story doesn’t pull any punches, like Blunt’s character, you feel powerless when confronted with the violence and the scale of the drug cartels. According to Sicario, Mexicans are unable to solve their own problems, Americans make everything even worse and you can’t help but feel that this is a doomed cause.
This movie has undeniable qualities: Benicio Del Terro’s performance is incredible, Deakins should get an Oscar for cinematography and Denis Villeneuve knows how to shoot action and build tension. Sadly, by the end of the movie, I wished I had watched the real story of the men and women who reduced Mexico’s murder rate by 25% in the last three years, a fact Denis Villeneuve seems to ignore.
Sicario review by Rparbhak – Great film with some flaws that hold it back
I just saw this movie at the 1130PM showing at the Arc Light in Hollywood. There were previous screenings tonight but there was a decent turnout at this time. I believe it will stay in the 7.5-8 rating range after the full release. I give it a solid 8. I know that there is a lot of fear on this board about whitewashing and American exceptionalism ruining the film, but that is not the case. This is a movie about a lot of dangerous people battling for control. The US government and Mexican Cartels are both implicated in carrying out nefarious deeds. This was a huge relief, especially after seeing the trailer for new Michael Bay propaganda film before the movie.
The movie is paced better than Denis’s previous work. I had read the script prior to the filming and I was worried most about that. I was fully immersed the whole film and was wide awake/alert despite seeing it after a 12 hour workday. He has a gift for creating tension and it is in full effect in this movie. There were several tense set pieces that were well executed. The opening set piece was great and set the tone for the entire film.
The cinematography was beautiful while also being restrained at the same time. Roger Deakins is an absolute maestro, a complete savant with lighting, framing, and camera placement. I have worked as a DP on projects that were outside in a desert landscape and it can be absolute hell to deal with. He and Denis know when to keep it simple and when to really accentuate the scene with more stylistic lighting. The golden hour scenes in the desert were beautiful and made me nostalgic for my home state of Arizona.
The acting was top notch especially Del Toro. He is comfortable with this sort of material and it really shows. When I read the script, I pictured this exact characterization for the character. Emotionless and relentless. It is his best performance to date. Brolin has a smaller role, but plays it well. Ruthless, determined, yet calm under pressure.
Emily Blunt nailed the archetypal cop just trying to do good role. I know the studio executives wanted a male to play the role, but it would have taken away from the movie. Her strength as well as her vulnerability gave more credibility to her character. Her physicality and emotional acting skills were on display at a high level.
The movie has flaws. Emily is not given enough depth or development. Her character is just not written very well. Her actions are predictable and her reactions were clichéd. I wanted to know more about her. The plot is very familiar in terms of a crime drama/thriller and does not really do anything special or unique. I also wasn’t a fan of the score, but that is just personal preference. It doesn’t take away from the film at all. It had the potential to be something more special and it drops the ball. It is still a great film and I recommend you all to see it.